.
Carl Spitzweg
5th February 1808 – 23th September 1885
Carl Spitzweg was born on 5th of February in 1808 in Unterpfaffenhofen, Bavaria. Although trained as a chemist, he discovered quite early his talent for drawing and his affinity with art. Spitzweg travelled extensively during his lifetime and the impressions formed by his travels greatly influenced his work. Shortly after completing his studies in pharmaceutics in 1832, he visited Italy. It was particularly in the cities of Florence, Rome, and Naples that he discovered the many significant works of Western culture which were to leave a permanent imprint on him.
A severe case of dysentery in 1833 strengthened his resolve to abandon his career as a chemist and he proceeded to commit himself solely to his painting. In June 1835, he became a member of the Munich Art Association and travelled that same year to southern Tirol with the landscape painter Eduard Schleich, the Elder.
In 1839 he completed his first painting entitled ''The Poor Poet'. Although this recurring motif would later be considered his most well-known body of work, the painting was not accepted at this time by the jury of the Munich Art Association.
As regards his graphic production, the first publication in 1844 of his own illustrations in the Munich weekly paper 'Fliegende Blätter' is considered quite significant. His visits to the Industrial Exposition in Paris and the World's Fair exhibition in London in 1851 were his first contact with the Oriental scenes which would begin to inform his work.
To the deserving painter were bestowed numerous honours during the second half of Spitzweg's lifetime: in 1865 the Bavarian Royal Merit Order of St. Michael was conferred upon him, and in 1875 he was named an honorary member of the Academy of Fine Arts.
Carl Spitzweg died on 23th of September in 1885 and was entombed in the historic South Cemetery in Munich.
He leaves behind a body of work dedicated to the townspeople who inhibit his genre scenes, and with acute and pointed, but never ill-natured humour he portrays the everday bourgeois life of his time.
Lit: Siegfried Wichmann, Carl Spitzweg. Verzeichnis der Werke, Gemälde und Aquarelle, Stuttgart: Belser, 2002.
Carl Spitzweg
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2138
Winterauktionen 20.–21.11.2020
Herrfeldt, Marcel René von
1889 Boulogne-Billancourt - 1965 Munich.
Blonde in a negligee.
Oil on canvas. Inscribed «HERRFELDT» lower left.
H 94,
Marcel René von Herrfeldt's paintings are above all to be understood as sensual and ecstatic homages to the beauty of the female body. As a pupil of Franz von Stuck, he was influenced by the exuberant opulence and beguiling eroticism of the fin de siècle. In the present work, an unapproachable blonde gazes into the distance, dressed in a silver shimmering, transparent negligee. She appears to be naked and dressed at the same time. This garment began its seductive triumphal march in the interwar period and, through legendary actresses such as Jean Harlow or Rita Hayworth, became a weapon of a new type of woman, the self-confident femme fatale.
A mysterious, cool blonde with a pale complexion is quite rare in the painter's oeuvre, as he was mainly interested in dark-haired ladies with tanned skin, embodying vivacious Mediterranean women. Also a negligee or similar garments rarely appear in his œuvre, as he mostly painted nudes. A renowned connoisseur of Herrfeldt, Mr Thomas Krause, therefore suspects that the present work was commissioned.
Authentication: We would like to thank Mr Thomas Krause, Krefeld, for the kind remarks via 
Herrfeldt, Marcel René von
1889 Boulogne-Billancourt - 1965 München.
Blondine im Negligé.
Öl auf Leinwand. U.l. bez. «HERRFELDT».
H.
Marcel René von Herrfeldts Gemälde sind vor allem als lustvolle und ekstatische Huldigungen an die Schönheit des weiblichen Körpers zu verstehen. Als Schüler von Franz von Stuck war er geprägt von der überbordenden Opulenz und betörenden Erotik des Fin de Siècle. Im vorliegenden Werk blickt eine unnahbare Blondine in die Ferne, gekleidet in ein silbern schimmerndes, transparentes Negligé. Sie wirkt dadurch nackt und angezogen zugleich. Dieses Kleidungsstück begann seinen verführerischen Siegeszug in der Zwischenkriegszeit und rückte durch legendäre Schauspielerinnen wie Jean Harlow oder Rita Hayworth zur Waffe eines neuen Frauentypus auf, den der selbstbewussten Femme fatale.
Eine geheimnisvolle, kühle Blondine mit blassem Teint findet man recht selten im Gesamtwerk des Malers, denn er interessierte sich vor allem für dunkelhaarige Damen mit gebräunter Haut, temperamentvolle Südländerinnen verkörpernd. Auch ein Negligé oder ähnliche Kleidungsstücke tauchen selten in seinem Œuvre auf, da er zumeist Akte malte. Ein ausgewiesener Connaisseur Herrfeldts, Herr Thomas Krause, vermutet daher, dass es sich bei dem vorliegenden Werk um eine Auftragsarbeit handelt.
Authentifizierung: Wir danken Herrn Thomas Krause, Krefeld, für die freundlichen Hinweise via